Yasmine Hamdan Quotes

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I follow my desires, and I'm prepared to take the consequences.

The Arab world is mediatised in a way that gives too much space to these people - puritans, extremists, whatever you want to call them. There are a lot more people like me in the Middle East than you might think.

When I read the Koran or hear it read, the images and the poetry, the sound of the language is very inspiring.

There are many positive values that come with a Muslim upbringing. But when religion becomes about rules and hierarchies, when it starts to feel like a prison, I'm not interested.

Collaborating with other artists is an emotional thing. Obviously, you don't do it unless this person inspires you.

Without freedom and without humor, our cultures can't have a healthy evolution.

Singing is a very sensual activity! You engage in it with all your senses and your heart.

I don't believe that there is a separation between art and political consciousness.

I went from the most underground band in the world to signing with Madonna's producer and a record label that is extremely mainstream - it was interesting.

I wanted to pursue my own thing - I had desires, ideas I wanted to accomplish, and I needed to be on my own for that.

I set the bar very high. I'm very tough on myself.

I've always had a sense that I am doing something very important, something vital.

My dad was a brilliant civil engineer. My parents later divorced, but we lived in Abu Dhabi, Greece, Kuwait.

I was born in the middle of Lebanon's civil war.

I was raised by strong women, and the role models I had in music and cinema were strong, too - liberated and provocative.

I'm inspired by many artists whose language I don't understand.

I sing in Arabic as a statement. It's art, and it's a challenge.

It's complicated for my music to be accepted, even in Lebanon and the Arabic world - I sing in Arabic, but there's no lute, no classical instruments. Maybe with the Internet opening things up, things will change.

I sing 'Beirut' for what the city is for me, but I am also singing as an exile.

When the public doesn't understand me, it's a battle. So when I choose words, I choose them for their musicality, rhythm, and sense, and I choose the right dialect to express that.

When I started, I didn't know how to sing in Arabic - it's a very complex and sophisticated music full of codes and modes and quarter-tones.

I always had this crisis: where do I come from? I was never an insider, never an outsider; I was always in the middle. But it means I never have borders in my head.

With Soapkills, we were lucky. We started at a time of transition where things were not ready, nothing was available.

Maybe I was blessed that my main drive was purely selfish. I needed to make something, make my life better, wider, have poetry in my life, have something that gives me hope on an everyday basis. That was my main drive all along, really.

All of the Arabic women I grew up listening to or watching had a very strong character.

Imagine a singer with the virtuosity of Joan Sutherland or Ella Fitzgerald, the public persona of Eleanor Roosevelt, and the audience of Elvis, and you have Umm Kulthum.

It's normal; Arab women have always been very active at the forefront of culture - as film producers since the 1920s; as singers, dancers, choreographers, writers for much longer than that.

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